Herbert Samuel Jerusalem
Eight years have passed since Baranowitz+Kronenberg designed Herbert Samuel Tel Aviv as a culinary institution for a high-level kitchen which corresponds with the guests at eye level. The culinary bust of Jonathan Roshfeld was placed under a spacious wooden pergola overlooking the sea and welcoming guests against the backdrop of the Tel Aviv materiality of the 1930’s as a gesture of connection between past, present and future.
Baranovich-Kronenberg developed the genetic code of Herbert Samuel in an accessible and original design that is sharpened in the right places and spread exactly where necessary. The finishing materials have been meticulously selected and supported to the minimum required to produce a joyous and precise culinary experience with the distinct significance of a new Mediterranean kitchen.
Herbert Samuel moves to Jerusalem and Baranowitz+Kronenberg dress it respectively, as a result of a planning process that distinguishes between a holy city and a city of sand. While the genetic code defined in Tel Aviv preserves and leads the planning, the content changes and takes its inspiration from the character of Jerusalem, its cultural and historical layers, and the perception of time as a tangible concept that can be touched and felt as only in Jerusalem.
Herbert Samuel Jerusalem stands out to the right degree, is surprisingly correct and embraces her guests as one of the locals. It is made of many layers as Jerusalem is made, and allows us to touch them physically and conceptually.
The meeting in Herbert is multifaceted: a multitude of seating platforms overlook the city’s edges and provide different experiences for the visitor, from sunrise to sunset. These seating areas were carefully spread between the restaurant bar, the open kitchen and beyond in the private room, with emphasis on the happiness of direct and indirect perspectives.
The kitchen is set up in the center of the space and is called an open book inviting to read it, to experience its culinary heroes and to enjoy its beats. The entire kitchen was designed in stainless steel, which radiates its essence to every past in basic and primal materiality against the materiality of wood, brass, leather and local stone in which they dressed Herbert Samuel in honor of her immigration to Jerusalem.
Baranowitz+Kronenberg’s cooperation with talents from Israel and abroad, is an uncompromising part of their work. This time the company joined forces the Dutch lace- fence company, which developed a new art of knitting with iron thread to create a ceiling that is entirely made of gold embroidery, identified with the city’s culture. Like her sister, the Tel Aviv Pergola, this embroidery floats above the restaurant as if it is the Shekhina and tells in its unique language about the city, its people and its guests.